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How Each Superman Actor Has Helped Keep the Man of Steel Relevant for 75 Years

In celebration of Superman's 75th anniversary, and the release June 14 of the Son of Krypton's latest big-screen adventure Man of Steel, writer Larry Tye, author of Superman: The High-Flying History of America's Most Enduring Hero, Now Out In Paperback, contributes this essay exclusively to Hollywood.com on the unique qualities some of the actors who've played Superman — Kirk Alyn, George Reeves, Christopher Reeve, and Henry Cavill — have brought to the role.
Nobody is more All-American than Superman in his red cape, blue tights and bright yellow "S." So how is it that a Brit – a native of the Channel Islands and a product of a Buckinghamshire boarding school, with an English brogue no less – is donning the leotards and cape in the new Man of Steel movie?
Warner Bros' selection of Henry William Dalgliesh Cavill as our newest Superman seems ill-conceived if not profane, the more so coming just as America is celebrating its hero's milestone 75th birthday. But Cavill, a British heartthrob who played the First Duke of Suffolk on the Showtime series The Tudors, wouldn't be the first on-screen Man of Steel to defy convention and, in so doing, to soar higher than even his studio handlers dared dream.
Kirk Alyn, the original live-action Superman, was more a song-and-dance man than an actor, having studied ballet and performed in vaudeville and on Broadway in the 1930s and early forties. That's where he decided to trade in the name he was born with, John Feggo, Jr., for Kirk Alyn, which he felt was better suited to the stage. He appeared in chorus lines and in blackface, modeled for muscle magazines, and performed in TV murder mysteries in the days when only bars had TVs and only dead-end actors performed for the small screen. But he had experience in movie serials, if not in superheroes, so when he got a call from Columbia Pictures in 1948 asking if he was interested in trying out for Superman he jumped into his car and headed to the studio. Told to take off his shirt so the assembled executives could check out his build, the burly performer complied. Then producer-director Sam Katzman instructed him to take off his pants. "I said, 'Wait a minute.' They said, 'We want to see if your legs are any good,'" he recalled forty years later. They were good enough, and fifteen minutes after he arrived, Alyn was hired as the first actor to play a Superman whom fans could see as well as hear.
Alyn and his directors were smart enough not to try and reinvent the character that Bud Collyer had introduced so convincingly to the radio airwaves. “I visualized the guy I heard on the radio. That was a guy nothing could stop,” Alyn said. "That's why I stood like this, with my chest out, and a look on my face saying, 'Shoot me.'" His demeanor said "tough guy" but his wide eyes signaled approachability and mischievousness, just the way creators Jerry Siegel and Joe Shuster had imagined their Superman a decade before. Alyn understood, the same way Collyer had, that kids could spot a phony in an instant. If they didn't think Alyn was having fun – and that he believed in Superman – they wouldn't pay to see his movies. His young audience, after all, didn't just admire the Man of Steel. They loved him. Superman was not merely who they dreamed of becoming but who they were already, if only we could see. The good news for them was that Alyn was having fun, and he did believe in his character in a way that these pre-teens and teens appreciated even if movie reviewers wouldn't.
In the 1950s, when Superman was gearing up for television, producer Robert Maxwell and director Tommy Carr screened nearly two hundred candidates who were sure they were him. Most made their living as actors, although some were full-time musclemen. Nearly all, Carr said, "appeared to have a serious deficiency in their chromosome count." So thorough – and perhaps so frustrating – was their search that the executives stopped by the Mr. America contest in Los Angeles. One choice they never seriously considered, despite his later claims, was Kirk Alyn, who had done well enough for the serials but had neither the acting skills nor the looks around which to build a Superman TV series. The search ended the day a barrel-chested B-movie actor named George Reeves showed up on the studio lot.
Maxwell's co-producer had recognized Reeves in a Los Angeles restaurant, seeming "rather forlorn," and suggested he come in for a tryout. He did, the next morning, and "from that moment on he was my first choice," said Carr. "He looked like Superman with that jaw of his. Kirk had the long neck and fine features, but although I like Kirk very much, he never looked the Superman Reeves did." His tough-guy demeanor was no put-on. Standing six-foot-two and carrying 195 pounds, Reeves had been a light-heavyweight boxing champ in college and could have gone further if he hadn't broken his nose seven times and his mother hadn't made him step out of the ring.
The Superman TV show, like other incarnations of his story, turned around the hero himself. Collyer, the first flesh-and-blood Man of Steel, had set the standard. He lowered and raised the timbre of his voice as he switched between Superman and Clark, making the changeover convincing. Maxwell's wife Jessica, the TV dialogue director, would follow Reeves around the set urging him to do the same – but he just couldn't master the switch. The result: a Superman who sounded just like his alter ego. They both swallowed their words. They looked and acted alike. There was no attempt here to make Clark Kent into the klutz he was in the comics. No slouching; no shyness. Reeves portrayed the newsman the way he knew, and that Jessica's husband told him to: hard-boiled and rough-edged, Superman in a business suit. The only differences were that Reeves would shed his rubber muscles and add thick tortoise-shell glasses with no lenses – that was the sum total of his switch to Clark Kent.
But it worked. It worked because fans wanted to be fooled, and because of the way Reeves turned to the camera and made it clear he knew they knew his secret, even if Lois, Jimmy, and Perry didn't. This Superman had a dignity and self-assurance that projected even better on an intimate TV screen than it had in the movies. Reeves just had it somehow. He called himself Honest George, The People's Friend – the same kind of homespun language Jerry and Joe used for their creation – and he suspended his own doubts the way he wanted viewers to. He looked not just like a guy who could make gangsters cringe, but who believed in the righteousness of his hero's cause. His smile could melt an iceberg. His cold stare and puffed-out chest could bring a mob to its knees. Sure, his acting was workmanlike, but it won him generations of fans. Today, when those now grown-up fans call to mind their carefree youth, they think of his TV Adventures of Superman, and when they envision Superman himself, it is George Reeves they see.
Christopher Reeve was an even less likely choice when producers set out to find the right Superman for their 1970s motion picture extravaganza. It wasn't just his honey brown hair and 180 pounds that did not come close to filling out his six-foot-four frame. He had asthma and he sweated so profusely that a crew member would have to blow dry his armpits between takes. He was prep school and Ivy League, with a background in serious theater that made him more comfortable in England's Old Vic than its Pinewood movie lot. He was picked, as he acknowledged, 90% because he looked "like the guy in the comic book . . . the other 10% is acting talent." He also was a brilliant choice. He brought to the part irony and comic timing that harked back to the best of screwball comedy. He had dramatic good looks and an instinct for melding humanism with heroism. "When he walked into a room you could see this wasn't a conventional leading man, there was so much depth he had almost an old movie star feeling," says casting director Lynn Stalmaster. The bean counters loved his price: $250,000, or less than a tenth of what Marlon Brando would get for the modest role as Superman's dad. Director Richard Donner asked Reeve to try on his horned-rimmed glasses. Squinting back at him was Clark Kent. Even his name fit: Christopher Reeve assuming the part made famous by George Reeves. "I didn't find him," Donner would say throughout the production. "God sent him to me."
Superman changed with every artist who filled in his features, writer who scripted his adventures, and even the marketers and accountants who managed his finances and grew his audience. Each could claim partial ownership. Actors like Christopher Reeve did more molding and framing than anyone and could have claimed more proprietorship. With each scene shot it was clearer that he was giving the hero a different face as well as a unique personality. Reeve's Superman would be funnier and more human – if less powerful or intimidating – than any who had proceeded him. He was more of a Big Blue Boy Scout now, in contrast to Kirk Alyn's Action Ace and George Reeves's Man of Steel. In the hands of this conservatory-trained actor, Supes was getting increasingly comfortable baring his soul.
Picking up the role and the mythos now will be English actor Henry Cavill, whose first appearance on the big screen was as Albert Mondego in The Count of Monte Cristo (2002). Can Cavill make us believe the way Reeve, Reeves, and Alyn did, and make us embrace a British-accented Man of Metropolis?
History suggests he can – provided he and Warner Bros. remember the formula that has served their hero so brilliantly for 75 years and counting. It starts with the intrinsic simplicity of his story. Little Orphan Annie and Oliver Twist reminded us how compelling a foundling's tale can be, and Superman, the sole survivor of a doomed planet, is a super-foundling. The love triangle connecting Clark Kent, Lois Lane, and Superman has a side for everyone, whether you are the boy who can't get the girl, the girl pursued by the wrong boy, or the conflicted hero. His secret identity might have been annoying if we hadn't been let in on the joke and we didn't have a hero hidden within each of us. He was not just any hero, but one with the very powers we would have: the strength to lift boulders and planets, the speed to outrun a locomotive or a bullet, and, coolest on anyone's fantasy list, the gift of flight.
Superpowers, however, are just half the equation. More essential is knowing what to do with them, and nobody has a more instinctual sense than Superman of right and wrong. He is an archetype of mankind at its pinnacle. Like John Wayne, he sweeps in to solve our problems. No "thank you" needed. Like Jesus Christ, he descended from the heavens to help us discover our humanity. He is neither cynical like Batman nor fraught like Spider-Man. For the religious, he can reinforce whatever faith they profess; for nonbelievers he is a secular messiah. The more jaded the era, the more we have been suckered back to his clunky familiarity. So what if the upshot of his adventures is as predictable as with Sherlock Holmes: the good guy never loses. That is reassuring.
There is no getting around the fact that the comic book and its leading man could only have taken root in America. What could be more U.S.A. than an orphaned outsider who arrives in this land of immigrants, reinvents himself, and reminds us that we can reach for the sky? Yet this flying Uncle Sam also has always been global in his reach, having written himself into the national folklore from Beirut to Buenos Aires. If Cavill acknowledges both sides of that legacy, the all-American and the all-world, then he should be able to reel back aging devotees and draw in new ones.
Larry Tye was an award-winning journalist at The Boston Globe and a Nieman Fellow at Harvard University. A lifelong Superman fan, Tye now runs a Boston-based training program for medical journalists. He is the author of the New York Times bestseller Satchel, as well as The Father of Spin, Home Lands, and Rising from the Rails, and co-author, with Kitty Dukakis, of Shock. He lives in Lexington, Massachusetts, and is currently writing a biography of Robert F. Kennedy.
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Death catches up to all of us, in the end. Every time, without fail, 100% of the time: in the battle of Life v. Death, Death wins. The task that's left is of the grin-and-bear it variety: die, but not without living first. Times are hard in Westeros these days, and it seems like nobody is getting what they want, because they're losing everything. Arya's lost Gendry, Sansa's lost her gay husband-to-be and a chance to escape, Joffrey's lost control, and Theon's lost all hope. It seems as though nearly everyone is fighting a losing battle — and Jaime isn't the only one in need of a hand. Oh, Game of Thrones, you tricky beast: you're going to try and dull our senses before you destroy them with senseless death and bloodshed, aren't you?
Sunday night's episode, "The Bear and Maiden Fair" was the seventh of the season — meaning, we're nearly finished. Only three episodes remain and the lionshare of shenanigans (in an already packed season) are rumored to take place amongst their final minutes. So for now? Bring on the sex!
By The Skin of Their... —If you were one of those people who lamented the last few episodes for not having nearly enough naked people in it, this week should've done you quite well. Robb and Talisa were the first two to get in on the action, having a quick romp in the tent before the admission that perhaps Robb's direwolf is going to have to rock a baby bassinet one of these days soon: surprise! That's right, Talisa's pregnant and Robb couldn't be more amped on it. A good, naked day for them all around. Clearly this means something terrible is going to happen to them both very soon.We pretty much only saw butts here, though. Butts butts butts — it's fun to say, isn't it? Royal butts abound!
Also gettin' a bit of skin is Theon — though obviously it's not going as bang-a-rang for him. Tonight's episode saw Theon still stuck in (at least as far as the show is concerned) gods-knows-where and being tortured by our mystery psychopath. And, OK, I have to ask: did Theon just lose his d**k? Because he looks like that's what was about to happen. Theon Greyjoy joins the castrati. Oh, I'll be so sad if Theon loses his junk, you guys, because that one's really just a loss for Westeros ginger-lovers everywhere. Talk about paying the iron price: guess that's why these cats aren't all into reaping. Really brings a whole new meaning to the house motto of "We Do Not Sow," if it's true, eh?
But seriously, the brutalization of Theon Greyjoy's been a tough one to watch — he's broken, and this is far ahead of his personal storyline as far as the book this season follows is concerned (book 3 of the George R.R. Martin series). And, given that it is largely un-documented on the page, this means what we saw was essentially the minds of our favorite demented and ruthless showrunners, David Benioff and D.B. Weiss. Which is why Theon's walk towards Castration Way felt extra brutal. He managed in his completely destroyed state to somehow get turned on by the ladies throwing themselves at him, giving him a bit of water, only to have it immediately destroyed. Something tells us blue balls are the least of Theon's problems, and it's only going to get worse.
Someone who isn't worrying about blue balls is Jon Snow, though. America's favorite bastard and his wilding lady Ygritte seem to have found a wedge in Orell, who is desperately trying to keep the two separate. But Orell's warging ways are no match for Jon Snow's oral abilities. Plus, those two crazy kids are just real cute together: her trying to sound like a lady, and him attempting to amp up his dirty-flirty banter that she loves so much. It's all rather precious. I hope — at least for Ygritte's sake — that Orell doesn't have a for-real-real, serious crush on her though, because that sounds like it could end in disaster for everyone involved.
Love, Loss, and What I Wore: The Story of Brienne of Tarth —Poor Brienne. She's done her duty and tried to stay honorable and look where it's gotten her: in a terrible dress, fighting a bear in a pit for a bunch of garbage trolls' enjoyment. Her and Jaime's budding friendship/mutual respect thing is so fascinating because it makes me feel something other than utter disgust for a cocky incest-and-attempted-child murderer knight. Mixed feelings, they are everywhere. But one thing is for certain: Brienne's dress from last week is still here and it is still the worst. It is the Pepto Bismol of dresses. If there is such a thing as dowdy and outdated in the Realm, this is it. Granted, the dress is now completely overshadowed by the bear claw gashes running down her neck, but still: that dress. The worst.
But let's all give a big round of applause to Bart the Bear who really gave us casual, terrifying animalistic realness tonight. Just don't clap too loud or else he might come and maul you to death. I bet he's a real sadistic type of bear: he probably lazily paws around with your foot or something after he does it. For the role, Bart! We mean for the role. We love you, Bart.
Maternal Instincts —The mommy gene was alive and well for many of the gals, not just pregnant Jeyne. Margaery Tyrell has continued to show not only a deft handle of politics, but also compassion and motherly will. In a relationship that could've quickly dissolved following last week's episode, Margaery stood by Sansa Stark in all her silly little teen girl naïveté. She thought that if she just got what she thought she wanted (coming to the Red Keep, getting betrothed to Joffrey) she'd finally be happy.
Oh, girl. Oh honey. This girl has so much learning to do. To which, Margaery remained persistant in her explanations: "women in our position, must make the best of our circumstances," she explained. Plus, Sansa girl: do you know what you're giving up right now? Tyrion may be a dwarf but he's handsome, far and away the nicest Lannister of the bunch, smart, and he loves to please them ladies. Sansa if you keep judging a dude's worth by his purse strings you're going to be majorly unhappy for all of your days. Focus on the good, and what you can do! Be more like Margaery and her wonderfully liberated self. Sure, she might have to still play a typical role, but she's willing to make the most of it. After all, "Sons learn from their mothers — and I plan to teach mine a great deal."
But perhaps having the best Mother's Day ever is Head Khaleesi in Charge, Daenerys Targaryen. Marching into her second slave city of the season — Yunkai. Only the rulers of this town are nowhere near as dumb as that a**hat from Astapor (guess that's why they call them the "Wise Masters" over there). Still, he makes an offer that Dany quickly refuses: ships and gold as long as she lets them keep their slaves. But Dany is still on her "free the slaves" tip, and isn't about to back down all that quickly. So what happens when you're an overprotective baby monster and your mother's just been threatened? You lose your gold and possibly a kingdom — so you better be careful.
Melisandre even gets in on the game, prepping her newest potential smoke-vagina-monster-giver Gendry (I mean, that has to be what's happening here, right?) for his future greatness. Sharing with him, emoting with him — manipulating him into exactly what she wants. By leading him past the Red Keep on their way back to Stannis', she was simultaneously able to teach him not only of his origins (the bastard of King Robert), but also of the importance of his paternity. He may be a bastard, but he’s also an heir. Sometimes I think absentee dads have a bigger influence on kids than ones that stick around. Also the manipulative abilities Melisandre (and her vagina) terrify me. I don't want wee Gendry involved in any of that!
Loose Ends:- Is it just me or is it still really surprising to see a landing strip (and I don't mean for airplanes!) in Westeros? The whole Medieval vibe of the show, coupled with the general unwashed nature of most of the cast always makes me question the pubic hair choices (and abilities!) of the ladies on this show.- Learning about Osha's husband tonight was so sad, but I'm really glad we're getting a bit of character development for someone who while otherwise wonderful, is woefully one dimensional.- Pro-Tip for Wildlings: Comparing a lady to seals and baby pigs is a surefire way to make sure you never get it in. Ever. Take some advice from Jon Snow or if you want to know how to please a lady.- Implementing a new rule: every time we see a lady's vagina we might as well throw a couple weens in there, too. And so it was decreed as law: henceforth and in perpetuity.- Arya's god is death, she declares: does sound really f**king ominous to anyone else?
What did you think of this week's Game of Thrones? Let us know in the comments.
Follow @AliciaLutes on Twitter
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"That's it?"
If you're a nerd like me, you have expectations for Marvel movie post-credit scenes. This makes the cap of Iron Man 3 rather peculiar. After two hours of sardonic '90s-style action that blows us back into our seats, Marvel fans know to stick around and silently pay respects to the eight billion visual effects artists who brought the whole thing to life, and to catch a thrust of fandom that ends the geek fest on a high note. We do get that in Iron Man 3 — but not in a way that lines up with the past. Change, in this case, is unsettling.
When Marvel Studios went independent and produced 2008's Iron Man, they made a bold move. After two hours of Robert Downey Jr. owning the character and a frenzy of comic book action, they set the tracks for an endless future of Marvel movies. Sam Jackson dropped the ultimate fan service bomb: "I'm here to talk to you about the Avengers Initiative."
Since then, every Marvel movie has boasted a post-credits cap that pushed the story forward. The Incredible Hulk tied Downey Jr.'s Tony Stark into the universe; Iron Man 2 saw the discovery of Thor's hammer, Mjolnir; Loki returned after the credits rolled on Thor; Captain America served up a direct Avengers lead in; and The Avengers itself threw in an out-of-nowhere glance at a fan favorite villain: Thanos, the big, purple, scary dude. We also saw the gang grab a quick post-Battle of New York bite at a local shawarma joint. A nice dash of Joss Whedon humor.
Now we have Iron Man 3, which knowingly passes on teasing the upcoming Thor: The Dark World or Captain America: The Winter Soldier in favor of pairing Tony Stark with his Avengers sparring partner, Bruce Banner (Mark Ruffalo). Turns out, all that neo-noir voiceover we were hearing throughout the film? That's Stark's couch session with Banner, who reluctantly hears him out despite not having any background in psychology.
Early rumors suggested that the movie would be our first introduction to the world of Marvel's August 2014 film Guardians of the Galaxy. A particular armor design had fans wondering if Stark may leave Earth at the tail end of the film, flying off into space to confront Thanos. Or as savvy comic book readers speculated, cross paths with the Guardians.
But that didn't happen. Instead, we got something like the shawarma gag. The Stark/Banner therapy session is played mostly for laughs, and the "Hey, I remember him from Avengers!" factor. On a story level, it's perfect. Writer/director Shane Black has always embraced the voiceover technique in his past work, most prominently used in his previous Downey Jr. collaboration Kiss Kiss Bang Bang. In Iron Man 3, it's given a purpose. For Marvel fans, the Ruffalo cameo is enough to elicit a laugh. But in true Black fashion, it also works on a second level as a self-referential dig at the screenwriter's body of work.
Sticking with a short burst of comedy might be Marvel's way of reeling in the world-building. After the success of the Sam Jackson/Nick Fury Iron Man bumper, Iron Man 2 spiraled out of control with Avengers build up. Utilizing established characters in the Iron Man 3 bumper reels in the mythology expansion and keeps anticipation tempered. The Marvel Movie Universe is becoming more and more complicated with every installment. To make it digestible to casual fans (and avoid any false promises that they can't keep to watchful comic book obsessives), they need to be smart with the post-credit scenes.
Whether Marvel shot themselves in the foot by setting a precedent or separated themselves from the pack with a unique hook, every Marvel movie until the end of time will have an after-credits scene. As the beginning of "Phase Two," Iron Man 3 departs from the beaten path.
Was it for better or worse?
Follow Matt Patches on Twitter @misterpatches
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Two men spent nearly 90 minutes waxing poetic about the art of comedy, acting, and directing during an intimate conversation in New York City. No, it wasn't a smart, dialogue-heavy indie film, but you're getting closer.
Ben Stiller and Jay Roach sat in front of an audience at the BMCC in Manhattan as part of the 2013 Tribeca Film Festival's Director Series. The conversation, which was live-streamed on the festival's website, covered a variety of topics about their respective careers, including the duo's work on the blockbuster comedy Meet the Parents and the follow-up Meet the Fockers. Stiller and Roach sat one-on-one (there was no moderator) for an unfiltered discussion and eventually took questions from the audience.
We picked the ten most fascinating highlights, moments, and quotes from Stiller and Roach's TFF chat.
1. When Roach made Meet the Parents, it was the first time he'd ever been to New York City proper. He said it was "one of the great experiences ever working on a movie."
2. Roach discussed the advantages of working with actors who are also directors, like Stiller. "You come at every project like a director...and it felt like I had a co-director with me."
3. Stiller said that while testing films, particularly a comedy, with an audience is helpful to a degree and you can take notice of what they do and don't respond to, "at a certain point you just have to follow your instincts."
4. Stiller said he wouldn't be closed off to doing a 10-part series in the vein of House of Cards. "I think it's fun and exciting. They're able to do high quality work and people who are good are flocking to it, [because] everybody just wants to do good stuff."
5. Roach and Stiller had created a part for Larry David for the Meet the Parents/Meet the Fockers movies with a character named Dom Focker. David turned down the role because he prefers to work on unscripted comedies.
6. Stiller improvised the "milking the cat" speech in Meet the Parents.
7. Stiller had a small role as a POW in Empire of the Sun. When Steven Spielberg (who shared stories about working on Jaws on the set) asked him to lose weight for the part, he went overboard and lost nearly thirty pounds and the stunned director asked him if he was alright.
8. Roach was so anxious about working with legends like Robert De Niro, Barbra Streisand, Dustin Hoffman, and Blythe Danner that he got sick from not sleeping enough before shooting. But, when cameras starting rolling Roach said he was surprised at the friendly, sharing vive on set and the level of craftsmanship with the actors. "It was like being in theater everyday."
9. While Roach has worked with more extreme comic voices like Sacha Baron Cohen (Borat) he believes lighter, more mainstream comedies "can radiate [their message] in a more subtle way."
10. The late, great Roger Ebert gave Stiller's comedy Zoolander a scathing review. The 2001 cult favorite was released just ten days after September 11, to which Ebert said Stiller's flick "is the reason why people hate America." Stiller revealed that a few years later Ebert apologized to him backstage at the Tonight Show and told him that emotions were high and he "went overboard."
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Once Upon a Time fans have endured four long, completely magic-free weeks for their favorite TV fairytale to return, and the wait is — finally! — almost over. And brace yourselves, because Sunday’s all-new episode will introduce us to new characters, thrilling flashbacks, and a whole new world of challenges for those we already know and love in Storybrooke.
In anticipation of the long-awaited return, star Emilie de Ravin talked to Hollywood.com about Rumbelle’s sweet beginnings, bringing in a never-before-seen hooded ally, and all the dirty details about Belle’s racy new alter ego Lacey.
“Regina [Lana Parrilla] gave Belle this false memory to once again mess with Mr. Gold [Robert Carlyle] and take away the one thing he loves," de Ravin explains about poor Rumpelstiltskin's unfortunate turn of events. But don't go worrying that Lacey, her tough, no-nonsense chick with a sharp tongue and a whole lot of attitude is as dark as that. The actress assured, “I mean she’s dark. but she’s not like an axe murderer."
“Compared to Belle she’s very free-spirited," de Ravin said, adding, "She a smart girl, she doesn’t want adventure, she doesn’t care about books. She’s rather hang out at the Rabbit Hole and drink, and play pool. She doesn’t really care about what people think — in a good way. So she does dress a little scantily clad, but not for attention, it’s just some people feel good in this or that or the other.”
So with "Lacey" finally out of the hospital, Rumple is more determined than ever to get his beloved back, so he enlists Charming’s help for a new plan. The actress told Hollywood.com, “The plan is to make Lacey fall in love with him so he can bring her back to Belle. And whether that’s with a potion or with this true love’s kiss, Lacey first has to fall in love with him.”
Luckily, it appears as though Lacey has a thing for the bad boys. “I think she likes the dark side of Mr. Gold and that turns her on," de Ravin said, "You know, some girls like the bad boys and some girls like the booky ones — I think that she kind of gets off on the fact that he’s a pretty bad dude.” (Still can't keep track? The actress came up with the perfect way to tell her various characters apart: “Belle will have a cup of tea, Lacey will have a double Jack on the rocks. Maybe three").
And speaking of being bad, this week’s Fairytale Land flashback will delve into Rumpel's evil behavior as The Dark One, and fans will get to see the return of Belle’s gold ball gown. “The cool thing about this Fairytale Land flashbacks between me and Rumpel, is it fills in some pieces in between the other flashbacks before Belle falls for him,” de Ravin says. “You see the first inkling of her seeing something that’s not bad about him and that’s sort of where it starts.”
In case that wasn't enough to get you excited, de Ravin teases that fans will also be introduced to a classic fairytale character we've never met on the show before. "There a certain hooded thief — some may know as Robin Hood — who takes something very special from Rumpel. And Rumpel is very evil at this point so of course he starts to torture him.”
In addition to all this, de Ravin said fans will also get to witness a daring rescue and a brand new friendship. “[Belle and Robin] sort of form an allegiance then and we’ll see what comes of that… I don’t think we’ll see him for the rest of the season but I’m 99 percent sure he’ll be back next season... which I hope we all are.” We are all wishing for that, too!
Don’t miss Once Upon a Time this Sunday, April 21 at 8 PM ET on ABC.
Follow Leanne on Twitter @LeanneAguilera
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Looks like the CW's Cult just isn't finding enough followers. A little more than a month after moving the ratings-struggling meta-thriller from its post-Hart of Dixie slot on Tuesdays to follow the darker, edgier Nikita on Fridays (a move we thought was actually smart), the network has dropped the remaing Cult episodes from its schedule entirely.
In layman's terms, that means the CW has pretty much canceled Cult. Sorry, Matthew Davis fans: unless The Vampire Diaries brings back Alaric from the dead (hey, if Jeremy is coming back there's still hope for our favorite history teacher!), Davis will once again be absent from our TVs each week. Commence crying now.
Regardless of the fact that the cast and crew filmed 13 episodes, only seven episodes have aired and as of now it looks like the CW won't run the remaining episodes. Instead, reruns of The Carrie Diaries and Oh Sit! will air in the Friday 9 PM ET/PT time slot.
"#Cult Sadly true," creator Rockne S. O'Bannon tweeted. "CW Execs once called the last 5 episodes "outstanding". I guess too outstanding. You are great, SMART fans. Thx to u all!"
The dark, moody Cult follows investigative journalist Jeff Sefton (Davis) as he searches for his missing brother and in turn uncovers the dark underworld of the TV show within the show, Cult, with which his brother was obsessed. The series also stars Jessica Lucas as Skye Yarrow, the intrepid Cult research assistant who helps Jeff with his investigation, Alona Tal as the show-within-the-show's cop (and the actress who plays her), and Robert Knepper as the show-within-the-show's dastardly cult leader Billy Grimm (and the actor who plays him).
Follow Sydney on Twitter: @SydneyBucksbaum
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A&amp;E is having something of a moment. Just a day after the success of Bates Motel led the network to announce the Vera Farmiga-starrer's second season, A&amp;E is rolling out its next dramtic attack: a crime thriller called Those Who Kill. The 10-episode series will star Chloë Sevigny and sounds a wee bit like AMC's soon to be rebooted crime series The Killing, with a side of Fox's The Following.
The series is set to air in 2014, with the focus on Sevigny. She stars as Catherine Jensen, a young, smart detective who (shocker of all shockers) tracks down serial killers. Much like The Killing's Sarah Linden, Sevingny's character comes with a handsome partner — Thomas Schaffer (James D'Arcy), a forensic psychiatrist (which is a fancy way of saying he evaluates suspects mental states). Together, they take on serial killers, but of course Jensen's got some demons of her own (hey, that's Linden's thing too!): she suspects her stepfather may be a serial killer himself and she's coming to terms with the disappearance of her 16-year-old brother. And if the similarities aren't enough, Those Who Kill is adapated from a Danish series, just like The Killing.
Of course, A&amp;E Network president Bob DeBitetto says in a press release that this serial killer show is going to be different. "Those Who Kill is not a crime procedural about serial killers – it’s a deep serialized character portrait of two compelling yet damaged individuals coming together through the revelation of their dark past."
And to be fair, as much as we love to joke about the overuse of serial killers on television, we've got to admit, about half of the programming on any given night would be dead in the water without them.
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There's a very simple trick to getting 25-year-old guys to enjoy your smart, sensitive, indie comedy about female friendship: have a very funny, borderline-explicit BJ scene in it. Okay, so that's not the only reason they should like a movie like Gus, but star Michelle Monaghan acknowledged that might be why some dudes who attended the SXSW premiere of her new film liked it. Then again, Monaghan got a kick out of the scene herself.
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Monaghan plays Andie, a single, free-spirited woman who unexpectedly finds herself pregnant and offers to give the baby to her married best friend Lizzie (Radha Mitchell), who has struggled to start a family of her own. The scene in question finds Andie in an ill-advised hook-up with Lizzie's brother-in-law, Casey (Michael Weston). While she, well, fellates him, he tries to, well, guide her — much to her annoyance — so she gives him a piece of her mind. "When I read the script I was like, 'Please honey, we've all been there'," Monaghan said during a chat with Hollywood.com at SXSW. "I think it's just such a funny scene from a female perspective, and it's never been touched on before…so to speak. I just welcomed it."
The scene doesn't only go for a big laugh (though it got one with audiences here); it also turns the table on your typical sex scene, putting the guy in the vulnerable position and having her take control, something for which Monaghan praised her co-star. "Michael Weston is genius. His reaction to that scene, I thought, was much bolder than me actually having to go through the motions. He actually had to verbalize what he was going through. I think he did it in like one or two takes," Monaghan said, adding, "..because I'm that good. I'm sorry, I had to go there!"
It should be noted that at this point in the conversation, the room — which also included Mitchell and Gus' director Jessie McCormack — erupted with laughter at Monaghan's response. It's clear the women who worked together on screen bonded off screen, too. It was that very female-dominated set — in addition to the director, and the two leading ladies, Monaghan pointed out that the DP, editor, and producer were also women — that made the actress so happy to be part of the project.
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Monaghan, who has been paired on-screen as the significant other to the likes of Jake Gyllenhaal, Casey Affleck, and Robert Downey Jr., said she was thrilled to have a different kind of on-screen partnership for Gus. "It was so nice to have chemistry with another woman for a change," Monaghan said. "I'd never met Radha before but we hit it off like a house on fire."
She continued: "It was so amazing to be surrounded by all these talented and creative women. It just solidified the fact that I want to continue to work with more and more women. I just finished a film a couple of months ago with another female director and it was so great. It's just a different kind of approach, its not better, necessarily, or worse, just a different way to approach things through the storytelling or the way that you talk about the characters. It's nice to have that balance."
Monaghan said she's encouraged by the shift in Hollywood toward more strong female characters like Andie — "She's unlike any character I've ever played. She's incredibly loose and she's overtly comedic. So that was a real welcome for me." — and more movies about and for women. "I think that weird rumor or idea in Hollywood that people don't want to see female-driven movies couldn't be further from the truth. Women buy tickets to movies," Monaghan said. "I think one of the reasons Jessie really wanted to make [Gus] was because she was like, 'I can't remember the last time that I saw [a movie with] two female leads that was really exploring women's friendship.' I thought she explored it really, really honestly and beautifully."
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The actress, who said she has no immediate plans to direct herself, added that she hopes films like Gus will inspire young, female filmmakers. "I think that's why it's important with film festivals like SXSW... for people in the audience to be part of these screenings and to see other young filmmakers, female filmmakers, at the screenings, in the audience, at the Q&amp;As, and be encouraged by it. To see there's a reality out there that is in the zeitgeist, that it is something you can do: It is a possibility."
[Photo credit: Erica Parise]
Follow Aly on Twitter @AlySemigran
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Just two episodes into its first season, The CW's mysterious new psychological drama Cult is moving to a new night. Beginning March 8, Cult's time slot will move from Tuesdays after heartwarming small-town medical drama Hart of Dixie to Friday nights following spy thriller Nikita.
The dark, moody Cult follows investigative journalist Jeff Sefton (The Vampire Diaries' Matt Davis) as he searches for his missing brother and in turn uncovers the dark underworld of the TV show (within the show) Cult, with which his brother was obsessed. The series also stars Jessica Lucas as Skye Yarrow, the intrepid Cult research assistant who helps Jeff with his investigation, Alona Tal as the show-within-the-show's cop (and the actress who plays her), and Robert Knepper as the show-within-the-show's dastardly cult leader Billy Grimm (and the actor who playis him).
RELATED: 'Cult' Stars Explain Their Confusing (and Intriguing) New Show
While one could view the move as a death sentence for a show struggling to get ratings — Friday night moves usually means a cancelation is not too far in the future — in actuality, this is a smart move on The CW's part. When it aired on Tuesday nights, Cult's lead-in was the could-not-be-more-opposite Hart of Dixie. Cult is a dark, edgy thriller, while Hart of Dixie is a fun, light (although sometimes heartbreaking) Southern charmer. The pairing of the two shows never quite made sense.
Now, with Cult's move to Friday nights, it will follow the equally dark drama Nikita, the show about a secret government organization of assassins. The vibe and subject matter are much more in Cult's wheelhouse than life in Bluebell, Alabama. Perhaps this move will actually end up garnering a ratings increase for Cult.
Encore episodes of CW series will take over the Tuesday 9 PM ET/PT timeslot, beginning with Beauty and the Beast on March 5.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: Liane Hentscher/The CW]
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Friends, Klingons, readers! Welcome to the inaugural edition of Get Thee to the Geek, Hollywood.com’s weekly column devoted to everything that prevented you from getting a date in high school: sci-fi, comics, videogames, basically anything that features something going “pew pew.” We’re not just going to limit ourselves to movies, TV, or games—if there’s something worth obsessing about, we will obsess about it. For Volume 1 of this column, I thought about doing something all pretentious like come up with a geek mission statement. But then I realized we’re not the types who like an ordered set of guidelines to govern our interests. In fact geekery is defined by only one thing. And that one thing is not a quality you might automatically associate with geeks but is really the foundation of contemporary geek culture: passion.
We geeks unabashedly, unreservedly love the things we love, without regard to such matters as taste or cred. Oddly enough, that means true geeks typically have great taste, which has given geek culture enough cred for us to have pretty much taken over American entertainment. As Hollywood’s annual tribute-paying at Comic Con shows, geeks are loud, proud, and a more coveted demo than ever. And who are the loudest, proudest geeks of all? Trekkers. So for the first ever Get Thee to the Geek, we’re going to dive deep into a show that’s cast a remarkable, if largely unrecognized shadow over contemporary pop culture. A show that’s a subculture within a subculture: Star Trek: Deep Space Nine.
Sure, The Original Series gave us Kirk, Spock, and McCoy, green space babes, tribbles, and Clint Howard as an evil genius baby. The Next Generation gave us an individual with possibly the single greatest moral compass in TV history: Capt. Jean-Luc Picard. And even Voyager remains startlingly underrated, with an incredible lineup of brainy girl power that made possible J.J. Abrams’ “Babes Who Kick Ass” phenomenon. But Deep Space Nine is better than all of these. Fourteen years after it signed off, in May 1999, DS9 hasn’t aged a day, but continues to move and inspire. 2013 represents the show’s 20th anniversary, and instead of getting drunk on Klingon blood wine we’ve decided to honor the occasion by presenting nine reasons why it’s the best that Star Trek has ever been, and how its influence is still being felt.
1. It’s the Only Star Trek Series That Shows What It’s Really Like to Live in the 24th Century
Based on The Original Series and The Next Generation, you’d be forgiven for thinking that everyone, and I mean everyone, living three centuries in the future is a member of Starfleet. The only view we have of that more enlightened future Earth is of the United Federation of Planets’ exploratory military branch. Okay, partly that’s because it was always easier and more cost-effective for Trek to set episodes largely within the already-built sets of the Enterprise interiors. It hardly seems a more enlightened future, though, if everyone is in the military. Deep Space Nine opened up the Star Trek universe and finally showed us what it would be like to live there. The show was set on a space station, not a starship, near the Wild West frontier of the Federation’s most distant borders. Purists who venerated Gene Roddenberry’s original “wagon train to the stars” vision cried foul, even though Roddenberry himself approved the space station concept before his death in 1991. But setting the show in one place allowed us to explore the Star Trek creator’s utopian vision like never before: here was a place where beings of all races could commingle, conduct trade, get drunk at Quark’s bar, and let off steam in the holodeck. Deep Space Nine, the name of the space station, was actually a place to live in.
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That allowed for the best worldbuilding—a term that’s become only more relevant since DS9’s 1993 debut--that Trek has ever given us. A vision of what it’s like to work, play, and live in the 24th century. With strong worldbuilding you can engage with and immerse yourself in a fantasy environment all the more fully, and invest more deeply in its characters. That’s what one of DS9’s writer-producers, Ronald D. Moore, learned from the show and brought with him when he relaunched Battlestar Galactica in 2003. Of course, exploration was still a big part of the DS9 concept. There were Runabout shuttles for away missions and, later, the coolest Federation starship ever, the U.S.S. Defiant. DS9 avoided the glistening, but antiseptic, white-on-white corridors that were the defining features of interior design on the previous shows. That’s partly a reason why…
2. DS9 Gave Star Trek a Harder Edge
Today, adding a touch of darkness to your sci-fi/fantasy franchise is equated with seriousness of intent. Just think of how many people want a Star Wars: Episode VII that’s harder-edged than the prequel trilogy. Somehow a more gritty Episode VII will be a movie that’s taken more seriously. That’s a false correlation, if you ask me, but on DS9 it worked beautifully. In fact, it may be the first example of a franchise reevaluating itself by going in a decidedly more dark direction. For one, since the space station was in essence a border town, there were many opportunities to question the Federation and test its values. And, more than ever, it allowed for us to view the Federation from the perspective of outsiders. Check out this great discussion between DS9’s Ferengi barman Quark and his Starfleet ensign nephew, Nog, about the fragility of human beings,’ well, humanity.
The idea of Star Trek not being all about starry-eyed optimism was revolutionary, and the tone was set from the get-go in the 1993 pilot episode, “Emissary.” Here’s how the show began, with tragedy and loss, and one incredibly ominous opening crawl:
You’ll also notice that J.J. Abrams opened his 2009 Star Trek with a prologue just like that. Later in the pilot, DS9 made its break with Trek tradition even more clear. Commander Benjamin Lafayette Sisko (Avery Brooks), the fiery star of the show, has an incredibly tense meeting with Patrick Stewart’s Jean-Luc Picard in which the Enterprise captain has to acknowledge the fact that he played a role in the death of Sisko’s wife, when he (unwillingly) gave the Borg intel about Starfleet’s defense protocols. Picard, our hero, seems strangely unburdened by the cost of the carnage he has indirectly unleashed…until that moment. Suddenly, guilt became a part of Star Trek, and so did regret.
NEXT: Why so serious? Yeah, DS9 could be dark, but it was also the funniest Trek series by far.
3. Trek’s Morality Suddenly Got a Lot More Ambiguous
So DS9 existed in a world of greater verisimilitude than any Trek series before it, and with it presenting us a “real world” came the realization that right and wrong aren’t always absolute. Sometimes ignoble actions are necessary to facilitate noble goals. This was the theme of the episode that’s often considered the very best of the series, Season 6’s “In the Pale Moonlight,” when Capt. Sisko (yes, after three seasons he finally got a promotion) revealed how he helped stage an assassination in order to force the Romulans to join the Federation’s fight against the primary antagonists of the show, the Dominion. Avery Brooks directly addresses the camera in that ep, like he’s straight out of House of Cards…and yet he’s still never less than our hero. “I lied, I cheated, I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all? I think I can live with it. And if I had to do it all over again? I would.”
It’s impossible to imagine Kirk or Picard making such a boldly relativistic statement about morality.
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4. But It Really Has a Sense of Humor!
I’m making DS9 sound like a depressing exercise in interstellar sturm und drang. Far from it. Yes, the show was Trek at its darkest. The way it killed off characters very much preceded how cheap life is on TV today. Heroes could have a streak of larceny in them. But episode for episode, I’d say DS9 was the funniest Trek of all. Take a look at this great moment between barman Quark (Armin Shimerman) and his Cardassian patron Garek in which they pair the moral inquiry and ambiguity that made the show so smart with a dash of rapier wit.
And the laughs on DS9 weren’t all dialogue-driven. One of the most inventive TV episodes of all time, “Trials and Tribble-ations,” digitally inserted the time-traveling DS9 crew into scenes from the Original Series episode, “The Trouble With Tribbles,” from 1967. In the episode, the culture clash between the 24th and 23rd centuries was at issue, but, in real life, for us, it was about how much the conventions of television had changed between the ‘60s and the ‘90s.
5. It Was a Bold Experiment in Serialized Storytelling
Star Trek had always been episodic, devoting one episode to a single mystery, conflict, or quest. DS9 upended that and paved the way for today’s serialized storytelling with long-term story arcs. The last five seasons of its seven season run are concerned with the Federation’s run-ins with primary series antagonists, the Dominion, culminating in a war between the two great powers that dominates the storylines of Seasons 6 and 7. Serialized shows like Lost and Battlestar Galactica, that also featured sprawling ensembles, focused heavily on how their characters lived their lives, and balanced moral murkiness with humor, something unimaginable without the precedent set by DS9.
NEXT: It's the characters, stupid. Why DS9 didn't just prove to be influential but revolutionary.
6. It Featured the Best Special Effects in the History of the Medium
Back to that whole lived-in realism thing…I don’t know if there’s ever been a show in the history of the tube with better special effects. I remember watching an episode of ABC’s V a couple years back and thinking that some force-field effect they had looked worse than what DS9 was doing 15 years before. And V was a network show, while DS9 was merely in syndication until 1995, at which point it went to UPN, hardly a guarantee of quality. Mostly, it’s because the Trek franchise’s TV production company, Paramount Television, had contracted Industrial Light &amp; Magic to render its effects. Here’s a space battle from DS9’s 1998 season finale. I’ll be damned if it doesn’t look every bit as good today.
7. It Was That Rarest of All Things…A Sci-Fi Character Study
But as great as the special effects were on DS9, what was truly dazzling was its exploration of its characters. Sci-fi isn’t traditionally known for its emotionalism. But the astonishing number of heart-tugging moments during its run, testifies to DS9’s deep investment in the psychology of its characters and the crafting of complex, resonant relationships among them. SPOILER ALERT if you don’t want to see the final parting of Rene Auberjonois’ Odo and Nana Visitor’s Kira in the following video from the series finale. To me, however, this was indicative of everything that made the show so great. Even watching it out of context and on YouTube I still found myself getting misty-eyed.
8. It Featured the Best Ensemble of Any Trek Series
Of course, as great as the DS9 writing team, led by Ira Steven Behr, Michael Piller, and Ronald D. Moore, was, it wouldn’t have meant anything without an exceptionally gifted cast to bring those characters to life. Brooks brought a theatrical flair to Captain Sisko, Alexander Siddig brought finesse and elan to Dr. Bashir, Robert Altman veteran Rene Auberjonois brought quirkiness and off-beat charm to Odo, Nana Visitor feistiness and tenacity to Kira, Armin Shimerman gleeful amorality to Quark, Terry Farrell intelligence and sexiness to Dax, not to mention those two great additions from The Next Generation, Colm Meaney as Miles O’Brien and Michael Dorn as Worf.
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9. It Was Groundbreaking In Its Diversity Without Ever Being Smug or Self-Conscious About it
After years of shows with racially and ethnically diverse casts like Lost and Grey’s Anatomy we may forget just how revolutionary it was in 1993 to cast an African-American as the lead on a show not geared primarily toward an African-American audience. And as a Starfleet Captain no less! This was not color-blind casting, however. A native of New Orleans and proud of his heritage, Sisko was truly a 24th century African-American. The key was that, though he was proud of being black, he wasn’t defined solely by being black. The same goes for a character that was every bit as groundbreaking, Alexander Siddig’s Dr. Bashir, who may have been the first-ever Arab character as a series regular on an American primetime drama. Bashir was cultivated, stylish, savvy. Oh, and a genius. Quite a difference from the way people of Arab descent are often stereotyped on TV. The fact that DS9 acknowledged this diversity, while making it clear that each character’s race and ethnicity was only one part of what made each unique was a triumphant balancing act that many series still struggle with today.
Quietly revolutionary and hugely influential, for my latinum DS9 is one of the most important shows of the last 20 years. It still boldly goes where other series fear to tread. Today’s geek culture is unimaginable without it.
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Paramount/Everett Collection]
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